O existencialismo, as artes e a pandemia: a obra de Alberto Giacometti, Eugène Ionesco e Albert Camus

O presente artigo pretende correlacionar os fundamentos do movimento filosófico do existencialismo das décadas de 40 e 50, com as obras artísticas de Alberto Giacometti, Eugène Ionesco e Albert Camus. A análise será ancorada pela escultura Nariz (1947), de Giacometti, pela peça teatral O Rinoceronte (1959), de Ionesco, e pelo livro O estrangeiro (1942), de Camus. Todas as obras serão interpretadas à luz do existencialismo e seu contraponto com a pandemia de Covid-19 que assola o planeta desde 2020.

TRINO MARTÍNEZ TRIVES: UNA FIGURA ENIGMÁTICA DEL TEATRO INDEPENDIENTE ESPAÑOL

El presente artículo recorre la vida personal y profesional del director y traductor Trino Martínez Trives quien jugó un papel im- prescindible en el teatro no profesional en la España de los mediados del siglo pasado. La investigación se centra en las traducciones que Trives realizó de las obras de Samuel Beckett y Eugène Ionesco y sus montajes de las obras de estos dos dramaturgos. Se exponen además las colabo- raciones que hizo con distintos grupos de cámara y ensayo y del teatro independiente, especialmente con Dido Pequeño Teatro. Finalmente, se mencionan en breve sus otros logros relacionados con la dirección de importantes instituciones teatrales y participación en otras actividades fuera de los escenarios.

The 'Highest Dynamic Level Attainable Unvoiced’:

This paper identifies a particular sub-genre of György Ligeti's life work. The 'lingual' works are those that explore the field of language, linguistics and related philosophies through the composer's typical playfulness and invention. Three strata are demarcated by the author, and the most complex, the 'speech pieces', is investigated more thoroughly. The works of focus in this paper are Artikulation, Aventures, and Nouvelles Aventures. This is done with specific reference to the work of Samuel Beckett and Eugène Ionesco, exploring the details of the parallels between them, and the philosophy that underpins them all. It is Ligeti's investigation of vernacular form which brings these pieces in line with what is now known as the Theatre of the Absurd.

Theatre of the Absurd

Coined and first theorized by BBC Radio drama critic Martin Esslin in a 1960 article and a 1961 book of the same name, the “Theatre of the Absurd” is a literary and theatrical term used to describe a disparate group of avant-garde plays by a number of mostly European or American avant-garde playwrights whose theatrical careers, generally, began in the 1950s and 1960s. Of the playwrights and writers (whether or not accurately) associated with this movement that has not been self-proclaimed, four were awarded Nobel Prizes in Literature: Samuel Beckett, Harold Pinter, Albert Camus, and Jean-Paul Sartre (who refused the award). Other major playwrights associated with the absurd are Edward Albee, Eugène Ionesco, and Jean Genet (among other important and minor playwrights). Often misconstrued as existentialist or nihilistic plays, they signaled the end of theatrical “modernism.” As such, some of these plays are considered among the most important and influential plays of the 20th century in their own right. As a group of plays, the Theatre of the Absurd, or known more casually as “absurd theater” or “absurd drama,” is widely considered, if not the most, certainly one of the most important theatrical movements of the second half of the 20th century. Besides leaving a treasure trove of important avant-garde plays, absurd drama and dramatists have left as possibly their greatest legacy, namely, that the tragicomic worldview of these plays has been subsumed by mainstream plays. Indeed, tragicomedy has become the default theatrical genre over the past five or so decades.

"Do You Really Enjoy the Modern Play?”: Beckett on Commercial Television

Television was the key popular medium of the second half of the twentieth century in the UK, and Beckett’s work was consistently aired by BBC, the British non-commercial TV broadcaster that had already featured his work on radio since the mid-1950s. But Beckett’s work also appeared on Independent Television (ITV), the commercially-funded British television channel set up in 1955 to rival BBC. The commercial ABC TV company made the series The Present Stage for ITV in 1966. In its feature announcing the series, the TV Times listings magazine asked “Do you really enjoy the modern play like Look Back in Anger or Waiting for Godot? A new 13-week series, The Present Stage, starts next Sunday and is designed to help you enjoy and understand modern plays.” The series was based on a popular book by John Kershaw, and alongside Beckett’s drama it dealt with plays by the dramatists Arnold Wesker, Max Frisch, Eugene Ionesco and Harold Pinter, each of which were landmarks in London theatre at the time. The series was broadcast on Sundays, following a home improvement programme, and this chapter asks what it meant for the ITV channel to screen a programme about Beckett’s drama amongst televised church services and home decor advice. The chapter places Beckett’s drama in the context of dynamic instability in British culture, when the categories of the popular and the elite were being contested, to argue that ITV’s programme contributed to a cultural revolution.

Management education and the theatre of the absurd

In this article, we recommend the drama of theatre of the absurd as a novel space for critically reflecting upon management and management education as shaped by the forces of emotion, irrationality and conformism rather than reason. We discuss the theatre of the absurd as uniquely relevant to understanding our troubled times. We present a brief overview of the history of business schools and management education. We apply the idea of absurdity to the world of business schools and management education, focusing on the work of one of the theatre of the absurd’s leading proponents, Eugène Ionesco. We emphasise the importance of fiction and fantasy as key aspects of organisation and education. We contribute to debates about management education by reflecting on possible futures for management education and the business school, embracing the humanities as a core disciplinary focus. We suggest that this will help rebalance management education, retaining the best of the existing curriculum, while re-situating the study of management in its broader historical and philosophical nexus.

Navigating the Mechanics of Secondary Imagination in the Select Works of Eugene Ionesco and Harold Pinter

The phrase “Science and Imagination”, in the most modern usage, has beckoned the interest of many critics across the globe to dwell on the many possible connections between the two conflicting concepts evoking myriad responses from social commentators. There are those who would dismiss the role of reason in imagination as the infringement of ethics in creative writing. Aesthetic imagination in creative writing perhaps demands going one step beyond the contours of reason to achieve what is artistically termed as the miraculous representation of reality. The juxtaposition of Science and Imagination is well explained in the words of Coleridge in Biographia Literaria as “To make the external internal, the internal external, to make nature thought, and thought nature_this is the mystery of genius in the Fine Arts”[223]. The confluence of science and imagination breaks down the seemingly opaque barrier between the heart and the head leaving the path open for the meeting and merging of intellect and emotion. The present paper works upon the ways by which the writers or artists of absurd literature, especially of drama, have used secondary imagination to recreate the experiences of their conscious will. The proposed paper titled “Navigating the Mechanics of Secondary Imagination in the Select Works of Eugene Ionesco and Harold Pinter” tries to explore the nuances of secondary imagination in Amedee or How to Get Rid of It and Rhinoceros by Eugene Ionesco and The Birthday Party and The Caretaker by Harold Pinter. The paper further intends to focus on how authors of absurd literature, like Ionesco and Pinter, reflect the futility and absurdity of human existence by making use of Secondary Imagination in their work